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The 17th century

Works made in the 17th century, anywhere in the world.

266 works · hang 8347 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. The image shows a landscape with rocky terrain, trees, and a stream. In the foreground, there is a bridge with a traveler and a dog crossing over the stream. The scene features detailed linework and cross-hatching to depict texture. The color palette is monochrome brown, resembling an etching or drawing style.
    Goat on a small BridgeAllart van Everdingen, probably c. 1645/1656Courtesy National Gallery of Art, Washington
  2. Charity, by Guido Reni, ca. 1630
    CharityGuido Reni, ca. 1630Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on canvas.
    Ecce Agnus DeiBartolomé Esteban Murillo, c. 1655Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. Interior with a Young Couple, by Pieter de Hooch, probably ca. 1662–65
    Interior with a Young CouplePieter de Hooch, probably ca. 1662–65Courtesy of The Metropolitan Museum of Art
  2. ONE OF A SET OF PROJECTS FOR A TITLE PAGE AND THE DECORATION OF A HORIZONTAL PANEL
    One of a set of projects for a title page and the decoration of a horizontal panelFrancesco Bedeschini, Italian, 1675-1699Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century
    Portrait of Mrs. George CollierJoshua Reynolds, 18th centuryCourtesy of the Cleveland Museum of Art
  4. A windmill stands on a promontory cutting into a waterway under a partially stormy sky in this square landcape painting. The promontory and mill are painted in muted tones of brown and rust orange, while steel-gray and white clouds encircle a topaz-blue sky above. The promontory juts into the scene from our left, and the front of the windmill is angled to our right so its golden-tan sails catch the light. Silvery water winds around the base of the promontory and extends to a dark green, shadowy bank on the far side. A boat in the lower right corner of the composition is rowed by a man wearing a red jacket and cap. A path runs to the water’s edge from the left edge of the painting, in front of the promontory’s retaining wall, which is shored up with stones or panels. A person in dark clothing close to the windmill seems to rest their arms on the retaining wall, their back to us. Closer to us, a woman holds a child’s hand as they walk down the path to the bank. A bearded man with tattered brown clothes and bare feet stands leaning against the wall near a woman wearing burnt-orange garment. She sits or kneels at the water’s edge in front of a basket of clothes and holds up a brown cloth. The olive-green forms of the trees on the far bank are reflected in the water, and closer inspection reveals two cows near the water there. Charcoal-gray clouds pile up along the left of the painting and span the top edge. There is a brilliant blue sky beyond and a screen of white clouds near the horizon, which comes about a third of the way up the canvas.
    The MillRembrandt van Rijn, 1645/1648Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. A work made of oil on canvas.
    Portrait of a GirlFrancesco Solimena, c. 1700Courtesy of the Art Institute of Chicago
  2. Water laps at a curving shoreline in front of a steep sandy dune carpeted in grass, shrubs, and trees in this horizontal landscape painting. The dune takes up the lower right quadrant of the composition. A few broken tree trunks are overgrown with vines and plants across the top and down the sloping side of the dune facing us. A red brick wall cuts through the vegetation up the side of the dune and disappears into the shrubbery at the top. The twisting branches and canopies of three large trees reach into the upper right quadrant of the composition. The vegetation stops abruptly along the sheer edge of the dune where it faces the water. The land curves like a backward capital letter C so it almost reaches the left edge of the painting along the horizon, which comes a quarter of the way up the composition. A cow and three more animals, perhaps sheep or more cows, graze or lie on a grassy mound in the distance, and sailboats line the horizon in the deep distance. White ripples swirl in the steel-blue water. The artist signed and dated the lower center, “J Ruisdael . 1648.”
    Dunes by the SeaJacob van Ruisdael, 1648Courtesy National Gallery of Art, Washington
  3. Youth Playing a Pipe for a Satyr, by Giovanni Benedetto Castiglione, 1645–50
    Youth Playing a Pipe for a SatyrGiovanni Benedetto Castiglione, 1645–50Courtesy of The Metropolitan Museum of Art
  4. Hanuman spies Sita in the Ashoka Grove, from the “Shangri” Ramayana, c. 1700–25
    Hanuman spies Sita in the Ashoka Grove, from the “Shangri” RamayanaUnrecorded Indian maker, c. 1700–25Courtesy of the Cleveland Museum of Art

Section 2, north wall

  1. Queen Esther Approaching the Palace of Ahasuerus, by Claude Lorrain (Claude Gellée), 1658
    Queen Esther Approaching the Palace of AhasuerusClaude Lorrain (Claude Gellée), 1658Courtesy of The Metropolitan Museum of Art
  2. Study of a Shepherd, 1700s
    Study of a ShepherdUnrecorded French maker, 1700sCourtesy of the Cleveland Museum of Art
  3. Study of a Young Woman, by Johannes Vermeer, ca. 1665–67
    Study of a Young WomanJohannes Vermeer, ca. 1665–67Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. The Fortune-Teller, by Georges de La Tour, probably 1630s
    The Fortune-TellerGeorges de La Tour, probably 1630sCourtesy of The Metropolitan Museum of Art
  2. The Mocking of Ceres, by Hendrik Goudt, 1610
    The Mocking of CeresHendrik Goudt, 1610Courtesy of the Cleveland Museum of Art